Tseng Kwong Chi was a prolific photographer who captured and participated in the downtown Manhattan art and club scene of the 1980s. He left behind an enduring archive of images of those well known artists, including Keith Haring, Andy Warhol, Jean-Michel Basquiat, and the many lesser knowns who made up that particular moment in art-historical time. Though most known for this documentarian work, vastly more compelling is the oeuvre of surreal political portraitures of himself.

I saw a sound check version of Martine Syms’s Nite Life, which seems fitting for a work that investigates a raw club recording made in Miami in 1963 by Sam Cooke that wasn’t released until decades after his death. I heard a few comments after the actual performance that mostly dealt with the discussion about which category the work might fall under: is it an artwork? Is it merely a lecture? From where does its merit come? Increasingly, we see artists or cultural producers creating work that exists between boundaries.

Justine Ludwig and I spent a lot of time together during this year’s Dallas Arts Week. Previews, openings, after-parties; galas, auctions, dinners. But we never really had a chance to talk. So on Sunday, April 12, I guilted her into picking me up from my hotel at 1530 Main Street, and driving me to her place of work, Dallas Contemporary, located at 161 Glass Street. Not unlike the movie Speed, the following conversation only took place while we were in motion.

About his upcoming Takeover Tour of the Wolfsonian-FIU, the noise musician Rat Bastard quipped, “I’m going to come off like a guy talking to himself to the people attending this event.”

At Miami Dade College’s Museum of Art and Design—which is housed in the iconic Freedom Tower—artist Odalis Valdiviesco has a show of work titled Arrhythmic Suite. A series of about 70 paintings, photographs, and photocopies, they hang along a linear, horizontal line around the room, and on some of the 9 rectangular pillars in the middle of it.